Recording At Home

Make Money From Your Home Recording

2013-02-27T00:12:00.000-08:00

For musicians and singers how to make money long-term is always a concern. Because there are so many music enthusiasts turned "Artist", be it singer or rapper and the internet making distribution of music easier, you have to know what you're doing if you want to earn from your music.

First off, let me start by saying if you intend to pursue a music career you have to be prepared to spend some money and that's before you're even in a position to make money. For those that don't know this, the majority of what you will pay for are other peoples' contacts and/or resources.

Many of these people have been in the music business for decades and at one time may have been major industry heavy weights and as such they know the business, have lot of contacts and favors they can call in if necessary.

The aspiring "Indie Artist" is in abundance and so, there's money to be made and it's a booming business for those with the knowledge and deep contacts. The aspiring Indie artist looking for advancement can be convinced to pay for and/or subscribe to some form of music based service. Don't forget the ever-increasing use of mobile apps.being used for music 'transmission.' I ventured into the app. world in January, 2013 and here I am in July with a much broader fanbase and fatter wallet thanks to my apps.

Now, having said that, I'll begin to talk about what an artist should be doing to earn from their music. Besides getting listeners to buy their songs from their website, iTunes or Amazon, you should be looking to get your music licensed. Music licensing is giving someone else permission to use your music in their work for a period of time without giving up your ownership of the music being licensed. This will generate long-term income which will be paid to you from whatever performing rights Organizations or P.R.O, you belong to (BMI, ASCAP, SESAC).The 1st thing you need to do is have music that can be licensed which is to say, your songs should sound like a finished product ready for market. That doesn't mean that you need to go out and get your songs professionally mixed and mastered, though that's not a bad idea if you can afford it, high quality home recordings are acceptable. It should be well produced, clear and available in (wav.) format even if it in mp3 format.

I believe many artists get caught up in the glitz of music making and focus only on making what they hear on the radio or music videos and for the indie artist that will not earn you anything much. Urban styles and music set the trends for what pop and fashion follow and like it or not the urban styles and music are being used to market to teens and young adults. So make the adjustment to include songs in your catalog that can earn money for you while in route to your other dream. That's just smart business in my opinion.

Having music placements to your credit can have a twofold effect, the 1st being, if you a promoting yourself effectively, it can be a good talking point to include in your bio and it will show potential investors or A and R rep that may consider signing you that your music has proven value based on the placements it's received in various other formats (e.g. tv, movies, games, advertising campaign etc). And the 2nd, it shows that you are earning from your music and you're cable of putting a song together that can be marketed to the public.

In closing, don't take your eye of the lesser-know music sites. Thay can (and have) turn out to be very lucrative.

Home Recording Equipment

2013-02-16T20:10:00.000-08:00

Music studio equipment can get really expensive really fast. I'm differentiating here between just any home recording studio, and one that specifically is set up for recording and producing music. If you are a voice over actor or podcaster exclusively, you can get by with quite a bit less in the way of studio gear. Musicians will almost certainly be needing, and hence, paying, more.

But that doesn't mean you have to go broke. Remember my goal in writing these articles has been to help you create the best quality audio for the lowest amount of money, and that is still true for the folks recording music in their home studio.

In order to make this article optimally applicable to the most folks, my example will be one or two people creating music on a computer using multitrack recording and audio editing tools. Things get pretty variable and different when you start talking about full bands or orchestras. I'm also going to assume for this example that the musicians already possess the musical instruments that will be on the recordings. Oh, and I also assume the person recording has a computer...pretty much any computer made in the last 10 years will do.

Okay, so the basics are these: you play the music, which goes through a microphone and then into a computer, which converts the sound into computer files that can be heard and manipulated by your audio software. See?! How hard is that? Alright, yes. It might be helpful to have a bit more information.

Let's start with the first piece of music studio equipment you may not already have, the microphone. Let's also say you are a guitarist and singer. Ultimately I would recommend two different kinds of microphones here, one for your guitar (acoustic for our example) and one for your voice. But let's talk minimums here. We'll go with one microphone, a large diaphragm condenser (side-address) of the USB ilk. At this fabulous point in time probably the most bang-for-the-buck you can get in audio recording is a USB microphone. They cost much less than their traditional cousins, plus they don't require a special computer interface or microphone preamplifier. Just plug it into your computer and go. You can use the same mic for your guitar as for your voice, as we are going to be recording one part at a time. Guitar first, then singing, etc. You only need one mic for that.

So what other hardware do you need? Uh, well let's see. Something to hold your mic while you play guitar is about the only other thing you'll need. If your USB mic didn't already come with one, you can a mic stand from your local music store for cheap. Heck, if you need to you could duct-tape your mic to a desk or just set one on a pillow on a chair or something.

So if we're done with hardware, what next? Yup, software. You'll need software that can record multiple tracks and mix them together, which we'll call tracking and mixing. You'll also need audio editing capability. Luckily there are recording software programs out there that do both functions, the lowest cost of which is free. "Audacity" is a program that is open-source freeware that can record, mix multiple tracks together AND edit audio. In fact Audacity is the most incredible value on the face of the planet. But since it is free, there are limitations, especially where musicians are concerned, such as in MIDI functionality. So you might want something with a bit more capability. There are so many choices out there for so many different prices, that it can make your head spin. Personally I use a program called Reaper, by Cockos for tracking and mixing, and Adobe Audition for editing (no affiliations), though in truth, Audition is one of those programs that can do it all. I just prefer the ease and work flow in Reaper.

And that's it! Yup, a computer, a USB mic and some software you can get you started with a very small budget (starting at about $25 for the USB mic). You'll want a pair of headphones too, though you could get by with a regular old pair of ear-buds if you have to. Then all you need to do is record that guitar part, hit "save", add another track next to the guitar track, record your voice on that 2nd track while you listen to the first track on your headphones. Boom. You'll probably want to add another guitar or another voice or two for harmonies, etc. No problem; just rinse and repeat, adding tracks as you go. When you have everything recorded, use your mixing software to pan the instruments and voices left, right, and/or in the middle like a group would be on stage. This also creates a nice stereo sound. Then make sure nobody is too loud or soft in the blend, hit "Save" again, and you've got a song. Now just open the song in your editing program, snip off any extra sound from the beginning (a count-in or a cough, etc.) of the recording. Fade the end out, make sure the whole thing is loud enough, save it, and you've got yourself a song that you recorded on your own home music studio.

Catharsis by Bob Findlay

Computers And Home Recording

2010-08-30T01:23:00.000-07:00

So you want to just pick up your guitar on a whim and record the latest idea that's passing by? Do you intend to record an album in its entirety at home and release it? Do you want to make podcasts to broadcast on the web? Do you want to 'flesh out' your musical ideas to get an idea of how the final product might sound. All are valid reasons for having your own home recording setup. Each one also suggests a particular amount of money you will need to spend to get the result you desire, and the amount of effort you need to expend making it happen.

What you will need.

From a basic standpoint you will need some way to record your performance or ideas - this could be into a Personal Computer[PC] or mac or onto a stand alone recorder. You'll also need some way of getting the performance into the recording medium - whether that be via microphone or a piano keyboard. You will also need to find some way to 'deliver' your product - via mp3 mix/cd or podcast. All factors to consider as you set up you home recording studio.

What is best; Computer recording or stand alone?

I will confess that in my opinion and experience, the simplest and most effective way to record anything at home is with a stand alone recorder. In 1998 I purchased a home recording unit and recorded a few songs on it ....which never saw the light of day until 2007....using a Boss BR8; 8 tracks to do the lot- including backing vocals guitars and eveything. To those of you unfamiliar with what I mean by stand alone recorder then have a look at units from Fostex, Yamaha, Roland and others. In general they have a built in hard drive or media card which records data that you produce as a result of recording yourself. This can be as simple as engaging a 'record' button and playing or singing. There's no fuss involved with this. Some of them also allow you to burn a CD at the end of the process so you can amaze your friends! There can be disadvantages as I will discuss later, but depending on your final aims as discussed earlier, you will make allowances for any shortcomings.

Recording onto a pc or Mac takes us into a more complex world, so if you're not computer savvy, or prepared to engage in a long and sometimes frustrating journey I'd go with the stand alone unit. My Boss BR8 can still make me sound like a half-decent pub band in 1972....which is the particular sound that I'm after. Different strokes for different folks and all that.

Why is it more difficult to record into a PC?

Recording into a PC has a minimum of 3 steps:

Input device-microphone/keyboard/turntable
Sound card-converts your 'real world' sound into computer language.
Recording software-does the job of 'capturing' your performance.

Once you have got your recording chain set up then it 'can' be as easy as using a stand alone unit, but to get to that point you have to deal with a number of factors-the #1 bugbear of most home computer recording nuts is a friendly tike called 'latency' .

Latency: ' something that is revealed later'.

For those not in the know, latency can be compared to hearing your voice echoing back from a canyon, heloooo-hellllllloooo. There is a gap between when you yell and when you hear your voice returned. If you plug in a microphone and set up your recording software and say the ubiquitous 'hello' you will get a similar effect!

Unless you invest in a super high end recording system such as 'Pro Tools Software', then this is something you need to work with as a home computer recording aficionado.

The reason we encounter latency is that the computer needs time to convert the analogue [physical sounds via electricity] into digital data; ones and naughts. With a good sound card this can take between 7 and 15 milliseconds [ yep that's 15 thousandths of a second] and then about the same number of milliseconds to convert it from a digital signal back into an electrical analogue system that we can usefully use to hear the sound coming out of the computer. Bare in mind that our ear 'notices' a sound as an echo at around the 50 millisecond mark [ more on this later] - so if we have a sound card with 25millisecond [ms] input delay and 25 ms output delay then our ear will perceive it as an echo- not much good to play along with as we will be out of time.

That's pretty useless you might shriek, so how do people manage to do all this computer recording stuff at home? A-ha. Those clever people who make sound cards m-audio, Presonus, Yamaha etc have done something very clever, they instigated a process called 'direct monitoring'.

Direct monitoring allows us to hear the incoming sound at its source- straight after you have plugged it in- instead of through the computer where you will pick up a substantive delay. You can still listen 'though the computer' if you choose, but in my experience it's pretty distracting especially with large latency times. The other thing that your clever software program/soundcard combo will do is to record your new track in time with the others by making allowances for the current latency times.

In summary; For ease of use and less technology hassles get a stand alone hard disk recorder. For more complex productions consider getting a computer/soundcard/software combo, but be prepared for a sharp learning curve.

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<a href="http://bobfindlay.bandcamp.com/album/mean-business">Snake Eyes by Bob Findlay</a>

Some Fine Tuning

2009-11-25T23:13:00.000-08:00

Following on from my previous entry regarding recording at how using a Boss BR-8 recording device you will have all of your instrumental tracks recorded and mixed to the levels that you like the sound of. Now is the time to hear what your song sounds like through external speakers.

This might be a good time to sit down and be somewhat underwhelmed.

Before you run 'line-out' audio leads to your external sound device, bare in mind that you have been listening to the same sound over and over and over again through (hopefully) high-quality and insulated headphones.

What you will hear on first listening may well frighten you by how 'bare' your song sounds. The insular nature of headphones condenses all of your tracks so when you hear them through speakers blaring your sounds into the open air, every slight imperfection will be heard. To you it will sound ghastly as you are aware of it. Surprisingly few others hear these quirks.

The most common error one makes initially when recording at home is to have their preferred instrument set at a higher level than it needs to be. Enter stage left your trusted friends who aren't going to massage your ego to give you an objective opinion. Once you have sought the opinion of a few trusted friends, this is where I find the Boss BR-8 to be perfect for my particular genre of rock music.

Instead of heading for the graphic equalizer, go to each track and have a play around with the low, mid & high range frequencies and explore what can be done with frequencies alone. Take my word, it's a little more than amazing. This is a good opportunity to listen to the sound that you hear through external speakers compared to what is heard through headphones and what is heard through your headphones. By doing so you are gradually training your ears to adapt to the difference. Over time you will have this down pat.

Each instrument reacts differently to the Boss BR-8 equalizers. The bass guitar has more flexibility than one may think using the Boss BR-8 home recording unit. Obviously the tone control on the bass guitar should be rotated to the desired position. I have also found that the Boss BR-8 has an almost mystical, intrinsic factor on how bass guitar strings

react to the plectrum used. Unlike using a bass guitar through a conventional amplifier the Boss BR-8 brings out a softer tone if a heavy, sharper, plectrum is used such as those more commonly associated with lead guitarists. At the other end of the scale thinner, flatter, plectrums give a

sharper tone.

The main variations that I make with the guitar sound is by working with the two rhythm guitars that I run in the vast majority of my material. I like my two rhythm guitars to mesh and weave ala' Keith Richards and Ronnie Wood, my guitar idols (along with Mick Taylor and Joe Walsh). Rarely do I touch the low end level or frequencies. I generally push the upper level volume a little whilst lowering the upper end frequency slightly. This serves to 'push' the guitar(s) forward without actually increasing the volume. Be careful at this point not to push things too far as you will end up with a 'thin' sound. This same technique is applied to the lead guitar, which should obviously be slightly more predominant.

You may notice that on first listening to the drums through external speakers that, firstly, they they are too loud, secondly, the kick drum is 'booming' and thirdly, that the snare drum sounds tin-like. Bypass the drum sound and listen to your track through. If you're happy with the actual timing and so forth then there should be no need to re-record.

On listening to the kick drum, one should be able to hear the hammer 'hit' the skin of the kick drum. This is achieved either manually by ensuring the drum is properly tuned and/or padded or by lowering the lower end frequency on your home recording unit and perhaps increasing the lower end equalizer. This should be done very slowly. You will hear when you have the sound that you want when the kick drum neither 'booms' or 'clicks.'

The snare sound will more than likely be 'thin' on first playback through external speakers. Again, this can be resolved manually by further damping down your snare or by increasing the lower end volume of your recording and slightly lowering the higher end frequency to maintain 'punchy' sound.

All of the tips mentioned here are subject to variations depending on your own personal style. I do hope you have found them of some assistance.

First Things First

2009-11-17T23:52:00.001-08:00

Image by nzgabriel via Flickr

For the purpose of this discussion I shall be drawing on my own personal and professional experience using a Boss BR-8 recording unit. Rock music is my genre' but the Boss BR-8 is adaptable for all genres of music.

The unit is an 8-track digital recorder aimed primarilay at the solo independent musicians who wishes to record on their own. Where you decide to go from here will be addressed in further articles as time presents. I purchased my device in the late 1990s and it offers more versatility than my needs require. You, I suspect, will be different.

Prior to recording I am assuming that you have the equipment other than the recording device at your disposal. Absolute essentials are your guitar (or guitars), two guitar leads and numerous sets of strings as these are things that tend to malfunction at 2am. A bass guitar can be used but the BR-8 does have a built-in bass 'synthesiser' making it possible to play bass on the lower strings of your standard electric guitar. It's a bit 'touchy' and doesn't allow the total freedom of your standard bass guitar.

For vocals I use a Shure SM-58. Any multi-directional microphone will do. The better the quality of microphone, the better the results. Nothing is cheap or free these days and everything is being superceeded by the minute. I'm a techno-luddite (as much as one can be these days) and prefer to stick with what I know. If you intend to use a normal drum-kit I highly recommend a Shure SM57 uni-directional microphone.

Studio quality headphones are imperative. Using inferior quality headphones to record will over-ride all of the hard work that you have put into your recording once you've heard it played back, be it on CD or decent quality computer speakers. Your potential followers will notice this too.

Finally, before recording commences, an isolated and sound-proof room is ideal. This is primarily for vocals. It is also necessary if you opt, as I do, to use a drum-kit. Now you are ready to record.

You have the song in your mind crystal clear.

Prior to plugging in and letting loose it is well worth spending time on what tempo and what pattern suits your song best. Play parts of your song through, experimenting with tempos' and patterns. Quite often what you have in mind will vary. This is a good thing as your ability to adapt is growing. Once you have this area to your satisfaction, depending on what instrument (vocals excluded) that you are most proficient with, I suggest recording what I call a 'ghost track.' A ghost track is a basic track, be it rythm guitar or bass, that will later be deleted and recorded over. I generally start on track 8 with a 'straight' bass line. The synthesised bass has a few options. As previously mentioned they can be somewhat restrictive but the synthesised bass line certainly can move along more than sufficiently. The synthesised bass does not allow for individual track mixing but the option of 'loose,' heavy,' tight and 'upright phased' are available from the offing. This is perhaps a good time to decide on what option will suit your song best.

The next track that I record is another ghost track, this time in the form of a rythm guitar. This gives my first 'real' rhythm guitar something to mesh with.' This is my style and may not suit yours. After the ghost rhythm guitar has been recorded the fun really starts. I record my first 'real' rhythm guitar.

There are a multitude of pre-set guitar effects, inside which are a multitude of individual effects with a multitude of options. I cannot emphasise enough that it is worth spending a few days going through each option jotting down notes. Even though a combination of effects may not suit your style, who's to say that they may not suit another song later on. Keep your notes in a safe place for future reference.

Once you have found the sound that you are after it's time to begin recording for real. You may find that because this is the real thing, nerves may come into play. This soon dissipates. I'd suggest having your pre-set rhythm track set pretty high volume-wise. Setting the straight ghost bass is also a good idea. Set your original ghost rhythm to a lower volume but high enough in volume in order to play off it. Now that you have done this you may well have a nervous breakdown as, going by the "time remaining" which constantly shows up on your screen, you only have 6mins of recording time left. Fear not.

Another great aspect off the Boss BR-8 is the "Optomise" button. Again, go to the "Utilities" button to the top right of the unit and press it. Using the 'arrow' button scroll to the right until "Optomise" shows. It's the last option. Press "Enter" and you will be asked "Optomise Song?" Again, press "Yes." After a few seconds the screen will display "Song Optomised." What this means is that any tracks which have been recorded over, thus taking up recording time, are discarded. Depending on your choice you can now record over your ghost rhythm or bass line.

Personally I a straight bass line first as I prefer to have my rhythm guitars weaving around each other, meeting up at relevant points. If you choose to use a standard drum-kit, as I do, it does have its' drawbacks but I still prefer it. I record it on two tracks.

Prior to recording I have the click-track as low as possible, purely to count myself into the track. Firstly I record the hi-hat and snare. I use a SM-57 microphone pointed directly at the snare. I record it at a very low level as I'm a hard hitter. This is sufficient to also pick up the hi-hat. I have a taped cymbal (to avoid 'spill') placed slightly above where a normal floor-tom would be placed. This also avoids spill as my body absorbs a lot of it. During the recording of the snare track, I place a pillow between the kick-drum pedal and the skin. When I record the kick-drum the aforementioned pillow is placed inside the kick, where it should be.

Vocals are usually the last track(s) that I record. I have them written down but have found myself scrawling on them as instrument recording progresses for reasons of phrasing and possible re-wording some parts. The multitude of vocal effects are overwhelming. As is also the case with guitar effects it is well worth spending time finding what's best for you. Each individual effect has yet another multitude of customisable effects within. From my experience, find the one that suits you best initially and stick with it until you feel that you wish to diversify.

The Boss-BR-8 has almost limitless possibilities for diversification and I have only scraped the surface in this article and hope that you have found something of use.

I intend to delve deeper into the multitude of possibilities of, not only the Boss BR-8, but recording in general.